► In an effort to gain insight on the lived experiences of novice urban music educators, the purpose of this instrumental case study was to examine…
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▼ In an effort to gain insight on the lived experiences of novice urban music educators, the purpose of this instrumental case study was to examine beginning music teachers’ perspectives of cultural relevance in relation to music instruction in urban school settings within in a large Southwestern city. Research questions focused on the perspectives that beginning music teachers have about their preparation to teach music in urban settings, the role of student culture in beginning music teachers’ instruction, and the meanings that beginning music teachers place on their experiences of teaching music in urban settings.
Data were collected based on Seidman’s (2013) three interview series, consisting of audio recordings from two semi-structured individual interviews for each participant, a 15-20-minute video recording from each participant teaching in their classroom, and an audio recording of one focus group interview. Participants included three beginning music teachers currently employed in urban schools in a major metropolitan city in the Southern United States. In this study, a teacher was considered a beginning teacher if they had zero to three years of experience teaching music in urban school settings. Regarding the participants’ perspectives to teach music in urban settings, four broad themes were revealed consisting of a lack of preservice curricular content related to teaching in urban schools, outside resources as support, individual professional development, and providing hope through music education. Concerning the role that student culture plays in beginning music teachers’ instruction, the results revealed three broad themes related to connectivity & relatability, concerts, and differentiated instruction. The broad themes that were revealed in relation to the meanings that beginning music teachers place on their experiences of teaching music in urban settings were familial roles, respect (giving and receiving), cultural sensitivity, peer support (camaraderie), and lack of internal support. Implications for current music educators as well as music teacher educators and higher education are included in this study. Future research should consider examining teaching music in urban school settings longitudinally, as well as the effect of culturally relevant pedagogy on student retention in urban school music programs.
Advisors/Committee Members: Kastner, Julie (advisor), Hansen, Erin (committee member), Durrani, Aaminah (committee member), Hausmann, Charles (committee member).

-6053-0009. (2018). Beginning Music Teacher Perspectives on Teaching Music in Urban Settings. (Thesis). University of Houston. Retrieved from http://hdl.handle.net/10657/3388

Note: this citation may be lacking information needed for this citation format:Author name may be incomplete
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

-6053-0009. “Beginning Music Teacher Perspectives on Teaching Music in Urban Settings.” 2018. Thesis, University of Houston. Accessed May 25, 2019.
http://hdl.handle.net/10657/3388.

Note: this citation may be lacking information needed for this citation format:Author name may be incomplete
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

-6053-0009. “Beginning Music Teacher Perspectives on Teaching Music in Urban Settings.” 2018. Web. 25 May 2019.

Note: this citation may be lacking information needed for this citation format:Author name may be incomplete

Vancouver:

-6053-0009. Beginning Music Teacher Perspectives on Teaching Music in Urban Settings. [Internet] [Thesis]. University of Houston; 2018. [cited 2019 May 25].
Available from: http://hdl.handle.net/10657/3388.

Note: this citation may be lacking information needed for this citation format:Author name may be incomplete
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

-6053-0009. Beginning Music Teacher Perspectives on Teaching Music in Urban Settings. [Thesis]. University of Houston; 2018. Available from: http://hdl.handle.net/10657/3388

Note: this citation may be lacking information needed for this citation format:Author name may be incomplete
Not specified: Masters Thesis or Doctoral Dissertation

University of Houston

2.
Borik, Elizabeth Renee.
“Queen of the Boys:” Hedli Anderson and the British Cabaret.

► The essay considers the life and career of British cabaret singer Hedli Anderson, whose work and influence has been largely forgotten today. She was the…
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▼ The essay considers the life and career of British cabaret singer Hedli Anderson, whose work and influence has been largely forgotten today. She was the first lucrative English-born cabaret artist, and helped to popularize the cabaret genre during the 1930s and 1940s, previously a European continental phenomenon, in Great Britain. She found success as a performer, recitalist, and collaborator, and inspired a generation of poets, playwrights, and composers to write and dedicate pieces to her.
The essay discusses the history of cabaret and its inception in Great Britain. A brief discussion of the pedagogical benefits of cabaret music in the modern vocal studio and the interest of British classical composers to explore the genre during the 1930s and 1940s is also considered.
Secondly, an extensive biography for Hedli Anderson, previously nonexistent at length, is presented. The essay then considers the careers of composer Benjamin Britten and poet W.H. Auden, their associations with the General Post Office Film Unit and the Group Theatre, and their contribution to the developing British cabaret genre through their Cabaret Songs written for Hedli Anderson. Poetic and musical analysis for each of the Cabaret Songs is provided.
Next, the essay explores the courtship and marriage between Anderson and poet Louis MacNeice. MacNeice’s work with the BBC presented Anderson with a new performance outlet via the radio. The couple’s collegial network grew in the 1940s, and Anderson’s friendships with composer Elisabeth Lutyens and poet Stevie Smith gave way to new commissions and cabaret-influenced pieces, including Lutyens’ Nine Stevie Smith Songs, for which poetic and musical analysis is included.
Finally, the essay investigates the unraveling and ultimate end of Anderson and MacNeice’s marriage, and her championing MacNeice’s work following his death. The essay concludes by outlining the end of Anderson’s career and life.
Advisors/Committee Members: Pollack, Howard (advisor), Clayton, Cynthia (committee member), Durrani, Aaminah O. (committee member), Evans, Joseph (committee member).

► The purpose of this analysis of Arnold Bax’s sextet In Memoriam (1916) is to further the understanding of what compositional traits Bax considered Irish while…
(more)

▼ The purpose of this analysis of Arnold Bax’s sextet In Memoriam (1916) is to further the understanding of what compositional traits Bax considered Irish while acknowledging the influence of the Irish Literary Revival, often referred to as the “Celtic Twilight.” Through this analysis, I will explain the significance of the bard in Irish history, and the interpretations that can be drawn from its inclusion in the sextet, while highlighting the connection of the sextet to the Easter Rising.
This discussion links In Memoriam (1916) to In the Faery Hills, an earlier Irish-influenced work that previously used the English horn as the voice of the Irish bard. The study of the sextet investigates the influence of Irish folk music on the work and argues that Bax attempted to use these elements and the English horn to depict the character of an “Irish bard.” This essay also discusses the relationship between In Memoriam (1916) and “A Dublin Ballad,” both of which were responses to the Easter Rising of 1916.
Advisors/Committee Members: Sposato, Jeffrey S. (advisor), Dinitz, Adam (committee member), Durrani, Aaminah (committee member), Wagner, Elise (committee member).

Linski, B. D. (2015). Politics and Poetry: The English Horn as the Voice of the Irish Bard in Arnold Bax's sextet In Memoriam (1916). (Thesis). University of Houston. Retrieved from http://hdl.handle.net/10657/1270

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Linski, Brett D. “Politics and Poetry: The English Horn as the Voice of the Irish Bard in Arnold Bax's sextet In Memoriam (1916).” 2015. Thesis, University of Houston. Accessed May 25, 2019.
http://hdl.handle.net/10657/1270.

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Linski, Brett D. “Politics and Poetry: The English Horn as the Voice of the Irish Bard in Arnold Bax's sextet In Memoriam (1916).” 2015. Web. 25 May 2019.

Vancouver:

Linski BD. Politics and Poetry: The English Horn as the Voice of the Irish Bard in Arnold Bax's sextet In Memoriam (1916). [Internet] [Thesis]. University of Houston; 2015. [cited 2019 May 25].
Available from: http://hdl.handle.net/10657/1270.

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Linski BD. Politics and Poetry: The English Horn as the Voice of the Irish Bard in Arnold Bax's sextet In Memoriam (1916). [Thesis]. University of Houston; 2015. Available from: http://hdl.handle.net/10657/1270

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation

► Sigismund Toduta is one of the most important figures in twentieth-century Romanian music, but he had the misfortune of living during the communist era when…
(more)

▼ Sigismund Toduta is one of the most important figures in twentieth-century Romanian music, but he had the misfortune of living during the communist era when artistic choices were subject to state censorship. Toduta had to walk a fine line between aligning his creative output with the ideology of the state and following his personal artistic views. This reconciliation was particularly challenging for him, as he devoted a substantial percentage of his compositional output to sacred music while the communist society embraced atheism.
This study discusses how Toduta reconciled his artistic ideals with the atheist ideology and the censorship of the communist regime. It draws on biographical and stylistic studies that are available almost exclusively in Romanian to illustrate the directions of his work in music. This study also explores Toduta’s lifelong admiration of J.S. Bach’s music; his constant interest in the Baroque composer is reflected in his explications of Bach’s music for Romanian audiences. This study analyzes the musical style of two works for piano. Toduta’s Passacaglia (1943) is the first work that can be considered part of his overall homage to J.S. Bach. A work written thirty years later, Prelude-Choral-Toccata (1974), can be considered part of the same homage to the Baroque master. These two pieces show an evolution of the composer’s style; the later piece shows more freedom in the use of form, rhythm, and harmony. Nonetheless, both pieces reveal hidden Christian religious observance; the communist regime’s enforcement of atheism made it necessary for Toduta to obscure his spirituality with compositional techniques.
Advisors/Committee Members: Lange, Barbara Rose (advisor), Durrani, Aaminah (committee member), Hester, Timothy (committee member), Weems, Nancy (committee member).

► The purpose of this ethnographic study is to explore the experiences of orchestras directors at Historically Black Colleges and Universities (HBCUs). While there have been…
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▼ The purpose of this ethnographic study is to explore the experiences of orchestras directors at Historically Black Colleges and Universities (HBCUs). While there have been a few studies regarding African American orchestra students in public schools, I am unaware of research that has explored these college level ensembles from the perspective of their directors. Critical Race Theory (CRT) was used as a theoretical framework for this study.
Specifically, this study sought to answer the following research questions: (a) What are the experiences of orchestra directors at HBCUs? (b) What are the challenges faced by HBCU orchestra directors, and how do they address them? and (c) How do HBCU orchestra directors describe their successes? I chose five participants based on their reputations as successful directors. Data collection included audio-recordings of semi-structured interviews and observations of the directors at their respective campuses. Data were coded and analyzed for emerging themes, and trustworthiness was ensured through member checks, peer review, and data triangulation.
Themes that emerged included (a) "Striving for Excellence": the determination of these directors to continue striving for the best from their students, (2) "General Lack of Funds": the shortage of funds for student scholarships and resources, (3) "Do Everything": these directors have limited assistance and wind up doing almost everything for their ensemble, (4) "Teaching Strategies": different approaches regarding how to help students grow musically, (5) "Recruitment Activities": recruitment challenges especially with the shortage of high school orchestras in their areas, and (6) "Critical Race Theory and the world of HBCU orchestras": racism and its effect on orchestra participants and their students.
Based on these findings, I recommend that HBCU orchestras receive more support both inside and outside of the African American community. The directors of these programs perform heroic feats within the reality of multiple limitations. Though they are not as well-known as the HBCU bands and choirs, these orchestras and their directors offer a unique glimpse into a fascinating world that future researchers should also explore.
Advisors/Committee Members: Kastner, Julie D. (advisor), Durrani, Aaminah (committee member), Conyers, James (committee member), Mack, Dianne (committee member).

▼ Miguel Bernal Jiménez established a personal and contemporary musical language by combining Mexican folk elements with Gregorian chant, Baroque, and eighteenth-century musical traits. Although Bernal’s musical training took place in Italy and was strongly influenced by the Catholic religion, his small town upbringing cultivated a strong connection with the folkloric roots and customs of the people of México. I intend to examine the life and work of Miguel Bernal Jiménez, (1910-1956) with special emphasis on his Cuarteto Virreinal for string quartet (1937), a composition that depicts a distinct national character through the use of folk elements in the music. The Cuarteto Virreinal, one of Jiménez's best-known compositions and one of the better-known Mexican works for string quartet, was dedicated to his good friend and renowned Mexican composer Manuel M. Ponce and his distinguished wife Clemita. This composition is based upon the four traditional children’s folk songs A la víbora de la mar, Naranja dulce, limon partido, Pica,pica,pica, perico, and Pase la elegida, la niña dichosa. Bernal Jiménez masterfully shaped these songs into an intimate chamber music work for string quartet, entwining Baroque and Classical forms with traditional Mexican elements using a technique he called "elaboration." In addition to his achievements as a composer, Jiménez also had far-reaching influence as a teacher. He was director of two very important musical institutions in México: the School for Sacred Music in Morelia (1936-1954), and the Conservatorio de las Rosas (1945-1954). Moreover, in 1954, Jiménez was named Dean of the College of Music at Loyola University, in New Orleans. Despite his many accomplishments, relatively little in Spanish and virtually nothing in English has been published about him. For this project, I will consult Bernal’s diaries, which provide an invaluable insight to his innermost thoughts and feelings, and other primary sources such as the author’s manuscript scores and personal letters. These primary sources are not available in English and have not yet been published in Spanish. Some relevant passages will be included in the study with a translation by the author. Through communication with Mexican scholars and with the assistance of Dr. Howard Pollack, I was able to acquire access to all the documents currently stored at the Conservatorio de las Rosas in Morelia, México. In addition to these primary sources, I will seek additional information through interviews with the composer’s relatives, distinguished students, and scholars in the field of Mexican music.
Advisors/Committee Members: Koozin, Timothy (advisor), Saradjian, Vagram (committee member), Durrani, Aaminah (committee member), Whittaker, Dennis (committee member).

► This essay offers a narrative reading of Debussy’s Sonata for Flute, Viola and Harp underpinned by the characteristic symbolist motto that portrays a subject’s desire…
(more)

▼ This essay offers a narrative reading of Debussy’s Sonata for Flute, Viola and Harp underpinned by the characteristic symbolist motto that portrays a subject’s desire to escape modernity through the artistic evocation of an idealized past. My examination explores those symbolist concepts that inspired this specific interpretation of the Sonata and documents the symbolist influence on Debussy’s unique aesthetic vision, with particular regard to the artistic affinity between Debussy and the referential symbolist poet Stéphane Mallarmé (1842-1898). Since the proposed narrative scheme has many affinities with the theory of the “three machines of time” conceived by the French philosopher and pshychiatrist Gilles Deleuze (1925-1995) the fundaments of his theories are briefly summarized and applied to my music analysis, following the example set by the work of Michael L. Klein.
Advisors/Committee Members: Koozin, Timothy (advisor), Dorough, Aralee (committee member), Durrani, Aaminah O. (committee member), Krager, Franz A. (committee member).

Lai VF. A Symbolist Interpretation of Narrative Time in Debussy's Sonata for Flute, Viola, and Harp. [Internet] [Thesis]. University of Houston; 2018. [cited 2019 May 25].
Available from: http://hdl.handle.net/10657/3128.

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Lai VF. A Symbolist Interpretation of Narrative Time in Debussy's Sonata for Flute, Viola, and Harp. [Thesis]. University of Houston; 2018. Available from: http://hdl.handle.net/10657/3128

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation

► Frédéric Chopin’s Sonata for Cello and Piano, Op. 65, is an undervalued masterpiece that has been unfairly misrepresented in the history of musical criticism. This…
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▼ Frédéric Chopin’s Sonata for Cello and Piano, Op. 65, is an undervalued masterpiece that has been unfairly misrepresented in the history of musical criticism. This essay offers a new appraisal of the piece based on historical research, Chopin’s correspondence, detailed formal analysis, and a study of expressive tools used to enhance this sonata.
The first section provides background on the popular criticism of Chopin's oeuvre, the genesis of the cello sonata, and Chopin’s enduring friendship with August Franchomme. This is accomplished through a discussion of contemporary critical writings on Chopin’s music and recent analytical studies of his sonatas in particular. His letters are referenced to help demonstrate personal and professional situations he experienced during the composition of the cello sonata. Additionally, a brief history of his friendship with August Franchomme, the cellist to whom the work is dedicated, illustrates his deep commitment to close friends in his circle and documents circumstances surrounding the debut of the work.
The second section delves into Chopin’s correspondence during the years 1830-1849 to help illuminate how melancholia or depression and ill health affected his life and work. His struggle to compose the cello sonata makes sense when viewed through the anecdotal evidence in his letters to friends and colleagues. His letters also reveal supporting information that connects his works, late style, failing health, and melancholia during the final years of his life.
Lastly, through an analysis of the first movement’s formal structure and an outline of the various quoted themes Chopin included throughout the sonata, this essay will explore how the cello sonata fits within the context of his late style. Darcy and Hepokoski’s seminal work on sonata theory, Andrew Davis’ article on Chopin and the Romantic Sonata, and Janet Schmalfeldt’s article on evaded cadences are referenced throughout the analysis to help support the findings. Chopin integrated expressive devices including evaded cadences and quoted themes to create a work that is singular among instrumental sonatas in the Romantic period.
Advisors/Committee Members: Koozin, Timothy (advisor), Durrani, Aaminah (committee member), Saradjian, Vagram (committee member), Krager, Franz A. (committee member).

► In the closing decades of the twentieth century, America experienced a surge of hymn writing and composition sometimes referred to as a “hymn explosion.” Responding…
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▼ In the closing decades of the twentieth century, America experienced a surge of hymn writing and composition sometimes referred to as a “hymn explosion.” Responding to the radical revolutions in society and religion, hymn writers initiated changes in language, subject matter, and even poetic form to create a new body of congregational song for the modern twentieth-century church. Hymn composers, seeking contemporary musical means to express the hymn texts, applied recent composition techniques to congregational song. This essay summarizes the musical style of late twentieth-century American hymns based on the analysis of over eighty-five tunes composed after 1970. The results reveal an increased flexibility in modal usage; the inclusion of rhythmic devices such as mixed meter and syncopation; experimentation with strophic form; an expanded role of accompaniments; and, most noticeably, a widened harmonic palette replete with color chords, modern modulations, and untraditional voice-leading.
Advisors/Committee Members: Smith, Rob (advisor), Maroney, Marcus K. (committee member), Durrani, Aaminah (committee member), Sposato, Jeffrey S. (committee member).

► The nineteenth-century Celtic Twilight movement was named after a collection of folklore by W.B. Yeats, a work that was inspired by Ireland’s native folklore and…
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▼ The nineteenth-century Celtic Twilight movement was named after a collection of folklore by W.B. Yeats, a work that was inspired by Ireland’s native folklore and contained themes of twilight, nature, and the supernatural, mainly that of the “fairy faith” from old Pagan Ireland. The movement, which was created by the Anglo-Irish ruling classes as a method of maintaining their elite status in Ireland, initially began as a literary movement, but eventually branched out into other areas of Irish culture and society, such as sport, art, and music. Present generations are indebted to the Anglo-Irish for what is generally considered as Irish nationalistic culture. This ideology is relatively unknown by young Northern-Irish musicians today. The Celtic Twilight movement formed the backdrop to Northern-Irish composer, Joan Trimble’s life, career, and music. Although Trimble’s compositional catalogue is diverse, the composer’s most characteristic works can be found in her two-piano compositions which succeed in capturing the essence and atmosphere and foot-tapping exuberance of the Celtic Twilight. Therefore, this research has resulted in the first D.M.A document to deal with the connection between Ireland’s nineteenth-century cultural history and Trimble’s life and two-piano works. In order to contextualize Trimble’s life and achievements, chapter one presents an investigation of the Anglo-Irish culture and the Celtic Twilight movement. Several undocumented primary sources, including radio interviews and rare recordings, help to provide insight into Trimble’s life in her native town of Enniskillen, and her experiences in London as a student and professional musician. Strong influences of the Celtic Twilight movement in Trimble’s life and career is evident from these extremely valuable sources and hence is the topic of chapter two. An overview of her complete two-piano works (published and unpublished) in the third chapter explores the Celtic characteristics found in each work within the subtext of Goltrai, Suantrai, and Geantrai—the three compositional genres found in Irish traditional music. This study therefore attempts to provide a comprehensive, referential document in relation to Trimble and her two-piano works in the hopes of shedding light on one of Ireland’s greatest musical ambassadors.
Advisors/Committee Members: Weems, Nancy (advisor), Bertagnolli, Paul (committee member), Durrani, Aaminah O. (committee member), Hester, Timothy (committee member).

Note: this citation may be lacking information needed for this citation format:No year of publication.

Vancouver:

McCarroll LM1. The Celtic Twilight as Reflected in the Two-Piano Works of Joan Trimble (1915-2000). [Internet] [Thesis]. University of Houston; [cited 2019 May 25].
Available from: http://hdl.handle.net/10657/2620.

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

Council of Science Editors:

McCarroll LM1. The Celtic Twilight as Reflected in the Two-Piano Works of Joan Trimble (1915-2000). [Thesis]. University of Houston; Available from: http://hdl.handle.net/10657/2620

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

► Dianne Goolkasian Rahbee (b. 1938) is an Armenian American composer, pianist, teacher and lecturer. Rahbee currently gives lectures on her music and teaches piano from…
(more)

▼ Dianne Goolkasian Rahbee (b. 1938) is an Armenian American composer, pianist, teacher and lecturer. Rahbee currently gives lectures on her music and teaches piano from her private studio in Belmont, Massachusetts. Rahbee’s solo piano works, the majority of her compositional output, have recently captured the attention of pianists and audiences around the world. Very few sources have been written about the piano works of Dianne Rahbee, and this document provides the first comprehensive study of all of Dianne Rahbee’s works for solo piano.
Chapter one begins with a biographical account of Rahbee’s life and chronicles critical milestones in the composer’s development as a musician. The chapter focuses on Rahbee’s early musical training, beginnings as a composer, influential colleagues, and significant awards and achievements.
The remaining chapters categorize the solo piano works by genre and offer a comprehensive description of Rahbee’s compositions for piano beginning with the pedagogical pieces for children, followed by preludes, ballades, sonatas, miscellaneous works, and the Phantasie Variations. Background information in each genre will precede a stylistic overview.
Detailed analyses from the first movement of Sonata no. 1, op.25, and the Phantasie Variations, op. 12 appear in their respective chapters. Each analysis draws upon specific stylistic features of Rahbee's work in an attempt to better understand her unique musical language. An appendix provides a chronological listing of Rahbee's entire catalog of solo piano works.
Advisors/Committee Members: Weems, Nancy (advisor), Hester, Timothy (committee member), Durrani, Aaminah O. (committee member), Pollack, Howard (committee member).

► Bartók’s Sixth String Quartet is known for its return to more conservative tonal, formal, and generic idioms. Setting it apart, however, is the pervasive role…
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▼ Bartók’s Sixth String Quartet is known for its return to more conservative tonal, formal, and generic idioms. Setting it apart, however, is the pervasive role of the ritornello that precedes each movement and increases in size with each statement. Likewise, commonly acknowledged is the presence of the grotesque in the Quartet, though little attention has been given to its placement and salience in relation to the Quartet’s existing formal properties, such as the ritornello and the conventional sonata and ternary forms. In this study, I employ the aesthetics of the grotesque as an interpretive window through which to view the interaction of the ritornello with the Quartet as a whole. I argue that the grotesque in Bartók’s Sixth Quartet performs a mediating role between the opposition of exterior and interior musical spaces. The prevailing narrative event involves the transgression of exterior upon interior and the dissolution of formal boundaries.
Advisors/Committee Members: Bertagnolli, Paul (advisor), Davis, Andrew (committee member), Durrani, Aaminah O. (committee member).

Ruotsinoja, E. 1. (n.d.). Narrative and Myth in Bartók's Sixth String Quartet: A Study in the Poetics of Space and the Grotesque. (Thesis). University of Houston. Retrieved from http://hdl.handle.net/10657/2624

Note: this citation may be lacking information needed for this citation format:No year of publication.
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Ruotsinoja, Eve 1985-. “Narrative and Myth in Bartók's Sixth String Quartet: A Study in the Poetics of Space and the Grotesque.” Thesis, University of Houston. Accessed May 25, 2019.
http://hdl.handle.net/10657/2624.

Note: this citation may be lacking information needed for this citation format:No year of publication.
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Ruotsinoja, Eve 1985-. “Narrative and Myth in Bartók's Sixth String Quartet: A Study in the Poetics of Space and the Grotesque.” Web. 25 May 2019.

Note: this citation may be lacking information needed for this citation format:No year of publication.

Vancouver:

Ruotsinoja E1. Narrative and Myth in Bartók's Sixth String Quartet: A Study in the Poetics of Space and the Grotesque. [Internet] [Thesis]. University of Houston; [cited 2019 May 25].
Available from: http://hdl.handle.net/10657/2624.

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

Council of Science Editors:

Ruotsinoja E1. Narrative and Myth in Bartók's Sixth String Quartet: A Study in the Poetics of Space and the Grotesque. [Thesis]. University of Houston; Available from: http://hdl.handle.net/10657/2624

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

► Jake Heggie’s solo chamber opera Another Sunrise premiered in May 2012, with a libretto by Gene Scheer. The work was commissioned by Seattle’s “Music of…
(more)

▼ Jake Heggie’s solo chamber opera Another Sunrise premiered in May 2012, with a libretto by Gene Scheer. The work was commissioned by Seattle’s “Music of Remembrance,” a group that dedicates itself to exploring and preserving music composed by concentration camp prisoners during the Holocaust, as well as to commissioning works on Holocaust-related topics.
Another Sunrise tells the story of Krystyna Żywulska, a Polish Jew imprisoned in Auschwitz. Żywulska had a number of remarkable experiences under the Third Reich. After boldly walking out of the Jewish ghetto in Warsaw, she reinvented herself as a gentile, joining the Polish resistance. Arrested as a political prisoner, she hid the fact that she was Jewish for her entire incarceration in the concentration camp, where her poems and songs led to fame as the “camp poet.” This work, a dramatic scene for solo soprano and instrumental ensemble, focuses on Żywulska later in life. She has been asked by an interviewer to record her memories of Auschwitz. However, facing the tape recorder during a sleepless night, she finds it impossible to tell her story.
First presenting basic biographical material about Jake Heggie, I will explore his background and education, training, professional experience, significant previous works and their reception history, and his compositional philosophy and style. Details about librettist Gene Scheer, both biographical and musical, are also included. Next I will look at Another Sunrise in greater detail, with facts about the commissioning and premiere of the work. Information about Krystyna Żywulska, focusing on her experiences while in Auschwitz as well as her life after the war, will follow, with a synopsis of the composition, incorporating a detailed description of the individual sections, the dramatic arch, and the message the composer and librettist are trying to convey.
Finally, I will finish with a musical analysis of the piece, exploring the form and tonal relationships. Turning more specifically to Heggie’s pervasive use of motives, an extensive topological study will focus on the dramatic significance and musical development of the four primary motives that unify the work.
Advisors/Committee Members: Durrani, Aaminah O. (advisor), Pollack, Howard (committee member), Clayton, Cynthia (committee member), Ross, Buck (committee member).

Note: this citation may be lacking information needed for this citation format:No year of publication.

Vancouver:

McKnight LK. Jake Heggie's Another Sunrise: Krystyna Zywulska and the Nature of Survival. [Internet] [Thesis]. University of Houston; [cited 2019 May 25].
Available from: http://hdl.handle.net/10657/2634.

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

Council of Science Editors:

McKnight LK. Jake Heggie's Another Sunrise: Krystyna Zywulska and the Nature of Survival. [Thesis]. University of Houston; Available from: http://hdl.handle.net/10657/2634

Note: this citation may be lacking information needed for this citation format:Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

► The music of American composer and pianist Robert Muczynski (1929-2010) has lately received a more detailed analysis and broader attention by performers, listeners and the…
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▼ The music of American composer and pianist Robert Muczynski (1929-2010) has lately received a more detailed analysis and broader attention by performers, listeners and the academic community. Among the works that have captured public and scholar’s attention is the First Piano Trio opus 24. Different studies, articles and reviews on the piece present detailed information concerning the musical design of the work, the composer’s style, and captivating gestures of the piece. Nevertheless, this literature offers little attention to the performance practice of the trio, and the recordings of the work are too few to advise an appropriate interpretation.
Therefore, this essay seeks to apply the theories of narrative analysis to improve our knowledge concerning the performance of Muczynski’s First Piano Trio. One has to bear in mind that an original performance depends not only on the examination of music elements such as harmony or rhythm, but also on how and why these gestures interact the way they do in a piece, main goal of the narrative analysis.
Advisors/Committee Members: Hester, Timothy (advisor), Durrani, Aaminah O. (committee member), Weems, Nancy (committee member), Smith, Rob (committee member).

► This essay offers insight into the efficacy of using Russian repertoire to help develop bass, bass-baritone, and baritone voices. The first section addresses the physiology…
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▼ This essay offers insight into the efficacy of using Russian repertoire to help develop bass, bass-baritone, and baritone voices. The first section addresses the physiology of the male voice, the challenges of the Russian language, and a rubric for selecting appropriate repertoire. The second section applies the proposed rubric to analyze selected works.
By having a basic understanding of the framework of the laryngeal anatomy (presented through diagrams of the major cartilages and muscles) as it relates to pitch, a voice instructor can select repertoire that both reinforces technical ideas and challenges the student to study new repertoire, such as Russian music. One of the greatest challenges of singing in Russian is the Cyrillic alphabet. With thirty-three letters and ten vowel sounds, it requires the production of sounds not found in other languages. Despite these difficulties, the demand for Russian repertoire in professional and academic settings has increased. This is largely because more resources are available to provide translations, transliterations, and pronunciation guides. With a plethora of repertoire to choose from, the works of three leading voice pedagogues (James McKinney, Richard Miller, and Clifton Ware) were consulted to create a rubric in order to assist teachers and students alike in choosing appropriate repertoire.
The methodology considers the analysis of range, timbre, tessitura, passaggio, accompaniment, and language to selected works by Peter Ilyich Tchaikovsky, Modest Mussorgsky, and Sergei Rachmaninoff. Four songs by each composer were chosen to suggest repertoire for undergraduate, graduate, and doctoral students. Songs with a range of less than an octave and a half, limited text, and accompaniments that aurally support the singer, are recommended for an undergraduate student. Songs appropriate for graduate and doctoral students feature a range of less than two octaves, longer texts, and accompaniments that behave more independently from the vocal line. Although this essay focuses on Tchaikovsky, Mussorgsky, and Rachmaninoff, the rubric could be used to study the works of other prominent Russian composers (Glinka, Balakirev, Borodin, Cui, and Shostakovich) as well as other Slavic languages such as Czech, Polish, and Bulgarian.
Advisors/Committee Members: Durrani, Aaminah O. (advisor), Evans, Joseph (committee member), Ross, Buck (committee member), Sonnenberg, Melanie (committee member).

► Hindemith’s Sonata for Harp is a three-movement work with a poem by Ludwig Heinrich Christoph Hölty attached to the third movement. The first and second…
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▼ Hindemith’s Sonata for Harp is a three-movement work with a poem by Ludwig Heinrich Christoph Hölty attached to the third movement. The first and second movements are presented as Type 3 sonata forms with romance archetypes. The third movement is in strophic form and can be viewed as an epilogue that meditates on the attached poem and motives of the previous two movements. The unusual progression of form and tempo between movements and the addition of a poem encourages a narrative analysis. Combinations of theoretical approaches that include both traditional and narrative analyses are applied in this study and draw out the musical intentions of the Sonata while providing a new depth of understanding to both the performer and listener. These techniques include the application of James Hepokoski and Warren Darcy's Sonata Theory, narrative theory, isotopic theory and disability theory as well as the identification of referential pitch collections.
Advisors/Committee Members: Durrani, Aaminah O. (advisor), Lange, Barbara Rose (committee member), Smith, Rob (committee member), Page, Paula (committee member).

▼ Daniel Catán (1949–2011) sought to synthesize classical tradition with Latin idioms to create original and distinct compositions. His Caribbean-inspired fourth opera, Salsipuedes: A Tale of Love, War, and Anchovies combines elements of comedy, irony, and tragedy in a satirical and moral story. This analysis identifies how Catán uses ironic strategies and narrative transformation to comment and reflect on the issues that he believed plagued contemporary society. Catán uses two secondary characters as his platform for delivering his message, and he relied on slow and methodical character development to transform the overall narrative from comedy to tragedy.
I argue that the temporal rupture created by these two characters is reflected musically, textually, and dramatically. By drawing on the scholarship of irony in music and musical narrative analysis, this paper demonstrates how Catán deploys ironic methods and a secondary dramatic thread to support the opera’s dramatic intention and intensify the dishonest practices of society’s leaders.
Advisors/Committee Members: Durrani, Aaminah O. (advisor), Krager, Franz A. (committee member), Turner, Katherine L. (committee member), Ross, Buck (committee member).